DOCSLIB.ORG

Alison Saar Alison Saar Breach Alison Saar

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

ALISON SAAR ALISON SAAR BREACH ALISON SAAR BREACH Williams Center Gallery Lafayette College, Easton Pennsylvania 2017 Published in conjunction with the exhibition Artwork copyright © 2014, 2016, 2017 by Alison Saar Alison Saar, Breach “mami wata (or how to know a goddess when you see Introduction Richard A. and Rissa W. Grossman Gallery one)” © 2016 Evie Shockley Lafayette College “Unminded (LETHE)” ©2016 Samiya Bashir We are delighted to have the opportunity to exhibit Breach presented opportunities for interdisciplinary Easton, Pennsylvania 18042 Alison Saar’s Breach, a body of work informed by the Great collaborations on and off campus. “Confluence,” a series September 17– December 17, 2016 Catalogue compilation copyright © 2017, Lafayette Mississippi Flood of 1927. The exhibition had its genesis in of lectures, performances, and films presented in the fall College Art Galleries, Easton, Pennsylvania 18042 Saar’s 2014 residency at Lafayette’s Experimental Printmaking semester, not only placed the flood of 1927 into a historical The College of Wooster Art Museum (CWAM) Institute (EPI). Saar, subsequently named the 2016–17 and contemporary context but included a broad range of topics Sussel Gallery, Ebert Art Center Richard A. and Rissa W. Grossman Artist in Residence by related to rivers and waterways. Programs ranged from a site- 1220 Beall Ave. Essays copyright © 2017 by authors Kitty McManus Zurko the Department of Art, also was selected to deliver the 2016 specific dance performance, discussions about flooding along Wooster, Ohio 44691 and John M. Barry David L. Sr. and Helen J. Temple Lecture. the Delaware River, the lingering effects of Jim Crow, Ta-Nehisi January 17–March 10, 2017 In an early discussion about the exhibition I described both Coates’ Between the World and Me; to presentations about Published by Lafayette College Art Galleries, Morris R. Williams the Lafayette galleries—one in the Williams Center for the Mami Wata, the African and African Diaspora female water Arts, and the second, the Grossman Gallery in the Williams deity. A list of the programs can be found on page 46. University of Tennessee at Knoxville Center for the Arts, Easton, Pennsylvania Visual Arts Building—and let her select the one in which she Downtown Gallery In 2017—the 90th anniversary of the Great Mississippi would like to exhibit. She quickly determined the Grossman 106 S. Gay St. River Flood—this compelling body of work also will be shown Edited by Stevie O. Daniels and Kathryne Keck-Harris Gallery—situated over the Bushkill Creek and a block from Knoxville, Tennessee 37902 at four academic museum venues: the College of Wooster Art April 7–29, 2017 the Delaware River—was the perfect location for a proposed Museum, Ohio; University of Tennessee Downtown Gallery, Designed by Heather Reinert and Michiko Okaya exhibition about the relationship of African Americans and Knoxville; Wrather West Kentucky Museum, Murray State Typeset in Scala Sans by Heather Reinert rivers. She wanted to explore such themes as the “politics University; and University of Kentucky Art Museum, Lexington. Murray State University Printed by Cenveo Publisher Services, Lancaster, Pennsylvania of people of color living in floodplains and the history of the Clara M. Eagle Gallery U.S. government’s negligence in flood control policy that Wrather West Kentucky Museum puts those populations at risk.” Michiko Okaya 100 University Drive “Breach” definition, page 2, from oxforddictionaries.com/definition/ As Kitty McManus Zurko describes in her catalogue essay, Director of Lafayette Art Galleries Murray, Kentucky 42071 Saar was in New Orleans in 2013 for a residency at the Joan June 9–August 22, 2017 ISBN: 978-0-9982772-1-9 Mitchell Center. She was dismayed to see how little had been done to rebuild African American communities devastated University of Kentucky Art Museum by Hurricane Katrina eight years earlier. Upon her return Rose Street and Euclid Ave. All rights reserved. Except for what section 107 of home to Los Angeles, she began researching the histories Lexington, Kentucky 40506 the Copyright Act of 1976 permits as “fair use,” no of American floods and effects on African Americans. The September 9–December 3, 2017 part of this publication may be reproduced, stored in Great Mississippi River Flood of 1927 piqued her interest. a retrieval system, or transmitted in any form or by Though few now know of this historic catastrophe, the 1927 any means electronic or mechanical, photocopied, flood, described as one of the worst natural river disasters recorded, or other, without permission of the in U.S. history, had a profound impact on the life of African publishers. The opinions expressed are those of the Americans living in the Mississippi Delta and brought long- authors and do not necessarily reflect views of the term social, cultural, federal policy, and political changes to exhibiting organizations. the United States. The exhibition would not have been possible without The Lafayette Art Galleries and the Experimental Printmaking Saar’s enthusiastic cooperation. Additionally, College of Institute (EPI) receives state arts funding support through a Wooster Art Museum’s Director/Curator Kitty McManus grant from the Pennsylvania Council on the Arts, a state agency Zurko wrote the insightful essay about Saar’s artwork funded by the Commonwealth of Pennsylvania and the included here. John M. Barry, award-winning author of National Endowment for the Arts, a federal agency. Rising Tide: The Great Mississippi Flood of 1927 and How It Changed America, provides a brief summary of the causes and long-term consequences of the event. Many thanks to poet Evie Shockley, who wrote “mami wata (how to know a goddess when you see one),” for her collaboration with Saar on the artist’s book of the same name. Poet Samiya Bashir’s “Unminded (LETHE),” “Consumption (PHLEGETHON),” “LAMENTATIONS ON THE ESPLANADE (COCYTUS),” “FLO/W/OE (ACHERON),” and “REALM AND COIN (STYX)” are the poemtags of Hades D.W.P., II. “Unminded (LETHE)” is reproduced in this publication. Alison Saar, Acheron, detail from Hades D.W.P., II, 2016 1 breach /bre CH/ noun 1. an act of breaking or failing to observe a law, agreement, or code of conduct. “a breach of confidence” 2. a gap in a wall, barrier, or defense, especially one made by an attacking army. verb 1. make a gap in and break through (a wall, barrier, or defense). “the river breached its bank” 2 3 Breach, 2016 wood, ceiling tin, found trunks, washtubs, and miscellaneous objects Introduction .............................................................................................1 Installation at Grossman Gallery, Lafayette College. Contents Kitty McManus Zurko, Alison Saar’s Breach .............................................6 Walls stained with acrylic, Bushkill Creek water, silt, and mud Alison Saar and Evie Shockley, Overleaf: detail of Alison Saar, Breach mami wata (or how to know a goddess when you see one) ........................30 John M. Barry, Great Mississippi Flood of 1927: A 75-Mile Inland Sea ......36 Checklist ...................................................................................................43 Biography ..................................................................................................44 Resources .................................................................................................48 Acknowledgments ....................................................................................49 4 5 Alison Saar’s Breach Kitty McManus Zurko Rivers flow along serenely and silently until they do histories, and cultural signifiers coalesce into a timely the failing levees.3 Because African Americans were near rivers in the first place; what has been the effect not. These multifaceted bodies of water functioned conversation that asks us to consider today’s divisive critical to the sharecropping economy of Southern of flooding on blacks and others living in flood-prone historically as points of entrée for exploration, trade racial relations by reflecting on a disastrous flood that plantations at the time, many blacks were forced into areas; and how have such disasters influenced music, routes, centers of commerce, and generators of fertile took place in 1927. relief camps on the Greenville levees and guarded art, and literature? agricultural regions. Like all great rivers, those in To start at the beginning of this particular tale, at gunpoint to discourage them from fleeing north, Her answers begin with four 2015 paintings on America carry the residue of past and present Saar was one of 24 Joan Mitchell Foundation grant as many others had since the beginning of the Great found and pieced together table linens and sugar 4 cultures as well as the metaphorical burden of recipients selected to participate in the Joan Mitchell Migration in 1910. and seed sacks. In these works, the artist explores human projection and reflection. Center’s 2013 Artist-in-Residence Pilot Program in Although what happened during Katrina still the humanity-preserving response to catastrophe Most riverine myths and beliefs focus on destruction New Orleans. During the three-week residency, she survives in our nation’s collective consciousness by focusing on the incongruity of what she calls, and salvation. Such myths are rooted in the delicate frequently rode her bike through the primarily black (recall the horrifying images of mostly African “dancing in the face of disaster.”5 Each painting’s balance between punishing floods that
Recommended publications
  • The English Department Writing Program and the Gayle Morris Sweetland Center for Writing Excellence in First-Year Writing 2011/2012

    The English Department Writing Program and the Gayle Morris Sweetland Center for Writing Excellence in First-Year Writing 2011/2012

    2011/2012 The English Department Writing Program and The Gayle Morris Sweetland Center for Writing Excellence in First-Year Writing 2011/2012 The English Department Writing Program and The Gayle Morris Sweetland Center for Writing Published in 2012 by MPublishing University of Michigan Library © 2012 Gayle Morris Sweetland Center for Writing Permission is required to reproduce material from this title in other publications, coursepacks, electronic products, and other media. Please send permission requests to: MPublishing 4186 Shapiro 919 South University Ann Arbor, MI 48109 [email protected] ISBN 978-1-60785-275-9 Table of Contents Excellence in First-Year Writing Winners list 6 Nominees list 7 Introduction 11 Feinberg Family Prize for Excellence in First-Year Writing 14 Matt Kelley Award for Excellence in First-Year Writing 56 Sweetland Prize for Outstanding Writing Portfolio 76 4 Excellence in First-Year Writing 2012 Excellence in First-Year Writing 2011/2012 EDWP Writing Prize Committee: Katie Will, Co-Chair Steve Engel, Co-Chair Tim Green Joe Horton Frank Kelderman Justine Niederhiser Melody Pugh Stephen Spiess Sarah Swofford Jessica Young Sweetland Writing Prize Committee: Alan Hogg Dana Nichols Administrative Support: Laura Schulyer Perry Janes Excellence in First-Year Writing 2012 5 Winners list Matt Kelley Award for Excellence in First-Year Writing Sarah Leddon: “The Public Woman’s Guide to Getting By: Navigating the Early 20th Century” nominated by Sara Lampert, History 195 Margaret Scholten: “Fate and Transition” nominated by
  • Hopwood Newsletter Vol

    Hopwood Newsletter Vol

    Hopwood Newsletter Vol. LXXVIX, 1 lsa.umich.edu/hopwood January 2018 HOPWOOD The Hopwood Newsletter is published electronically twice a year, in January and July. It lists the publications and activities of winners of the Summer Hopwood Contest, Hopwood Underclassmen Contest, Graduate and Undergraduate Hopwood Contest, and the Hopwood Award Theodore Roethke Prize. Sad as I am to be leaving, I’m delighted to announce my replacement as the Hopwood Awards Program Assistant Director. Hannah is a Hopwood winner herself in Undergraduate Poetry in 2009. Her email address is [email protected], so you should address future newsletter items to her. Hannah Ensor is from Michigan and received her MFA in poetry at the University of Arizona. She joins the Hopwood Program from the University of Arizona Poetry Center, where she was the literary director, overseeing the Poetry Center’s reading & lecture series, classes & workshops program, student contests, and summer residency program. Hannah is a also co-editor of textsound.org (with poet and Michigan alumna Laura Wetherington), a contributing poetry editor for DIAGRAM, and has served as president of the board of directors of Casa Libre en la Solana, a literary arts nonprofit in Tucson, Arizona. Her first book of poetry, The Anxiety of Responsible Men, is forthcoming from Noemi Press in 2018, and A Body of Athletics, an anthology of Hannah Ensor contemporary sports literature co-edited with Natalie Diaz, is Photo Credit: Aisha Sabatini Sloan forthcoming from University of Nebraska Press. We’re very happy to report that Jesmyn Ward was made a 2017 MacArthur Fellow for her fiction, in which she explores “the enduring bonds of community and familial love among poor African Americans of the rural South against a landscape of circumscribed possibilities and lost potential.” She will receive $625,000 over five years to spend any way she chooses.
  • Alison Saar Foison and Fallow

    Alison Saar Foison and Fallow

    FOR IMMEDIATE RELEASE August 2010 Media Contact: Elizabeth East Telephone: 310-822-4955 Email: [email protected] Alison Saar Foison and Fallow 15 September through 30 October 2010 Opening reception for the artist: Wednesday 15 September, 6-8 p.m. Venice, CA –- L.A. Louver is pleased to announce an exhibition of new three-dimensional mixed media works on paper and sculpture by Alison Saar. In this new work Saar explores the cycle of birth, maturation, death and regeneration through the changing season and her own experience of aging. The two drawings Foison, 2010 and Fallow, 2010, which also give their titles to the exhibition, derive from Saar’s recent fascination with early anatomy illustration. As Saar has stated “The artists of the time seemed compelled to breathe life back into the cadavers, depicting them dancing with their entrails, their skin draped over their arm like a cloak, or fe- tuses blooming from their mother’s womb.” In these drawings, Saar has replaced the innards of the fi gures with incongruous elements, to create a small diorama: Foison, 2010 depicts ripe, fruitful cotton balls and their nemesis the cotton moth, in caterpillar, chrysalis and mature moth stage; while Fallow, 2010 portrays a fallow fawn fetus entwined in brambles. In creating these works Saar references and reexamines her early work Alison Saar that often featured fi gures with “cabinets’ in their chest containing relics Fallow, 2010 mixed media of their life. 55 1/2 x 29 x 1 in. (141 x 73.7 x 2.5 cm) My work has always dealt with dualities -- usually of the wild, feral side in battle with the civil self -----Alison Saar One of two sculptures in the exhibition, En Pointe, 2010 depicts a fi gure hanging by her feet and sprouting massive bronze antlers.
  • C Ollections

    C Ollections

    The University of Wisconsin System - FEMINIST- OLLECTIONS CA QUARTERLYOF WOMEN'S STUDIES RESOURCES TABLE OF CONTENTS BOOKREVIEWS.................................. ................4 THE PERSPECTIVES OF FOUR NATIVE AMERICAN WOMEN WRITERS, by Chris Jendrisak. From theRiverls Edge, by Elizabeth Cook-Lynn; Mean Spirit, by Linda Hogan; Almanacof the Dead, by LeslieMarmon Si1ko;and Grandmothersof the Light: AMedicine Woman's Sourcebook, by Paula Gunn Allen. ACROBATS ON THE TIGHTROPE BETWEEN PHILOSOPHY AND FEMINISM: NO- MADIC FEMALE FEMINISTS AND/OR FEISTY FEMINISTS? by Sharon Scherwitz. Patterns of Dissonance: A Study of Women in Contemporary Philosophy, by Rosi Braidotti; and Feminist Ethics, ed. by Claudia Card. SOUTHERN WOMEN WRITERS AND THE LITERARY CANON, by Michele Alperin. Homeplaces: Stories of the South by Women Writers, ed. by Mary Ellis Gibson; Female Pastoral: Women WritersRe-Visioning theAmerican South,by Elizabeth JaneHamson; Southern Women Writers: The New Generation, ed. by Tonnette Bond Inge; and Friendship and Sympathy: Communities of Southern Women Writers, ed. by Rosemary M. Magee. ARCHIVES ......................................................12 FEMINIST VISIONS ............................................. .13 THE PRINCESS AND THE SQUAW: IMAGES OF AMERICAN INDIAN WOMEN IN CINEMA ROUGE, by Judith Logsdon THE INDEXING OF WOMEN'S STUDIES JOURNALS.. ..............17 By Judith Hudson RESEARCH EXCHANGE ..........................................20 FEMINIST PUBLISHING ..........................................20 A publishing handbook
  • Alison Saar | Breach Sept. 17–Dec. 17, 2016

    Alison Saar | Breach Sept. 17–Dec. 17, 2016

    Alison Saar | Breach Sept. 17–Dec. 17, 2016 Alison Saar explores issues of gender, race, racism, and the African diaspora. She mines mythology, ritual, history, music, and her biracial heritage as sources for her work. During a 2013 residency at the Joan Mitchell Center in New Orleans, Saar was dismayed to see how little had been done to rebuild African American communities devastated by Hurricane Katrina eight years earlier. Upon her return to Los Angeles, she began researching the histories of American floods and the effect on African Americans.The Great Mississippi River Flood of 1927, described as one of the worst natural river disasters in U.S. history, piqued her interest. Heavy rains resulted in the river breaching levees, creating a historic catastrophe that had a profound impact on the life of African Americans living in the Mississippi Delta. The flood exposed the conditions of poor African American sharecroppers and tenant farmers and their relationship with cotton plantation owners. The flood also resulted in social, cultural, federal policy, and political changes. With water imagery woven throughout, Breach is the culmination of Saar’s creative research on American rivers and their historical relationship to the lives of African Americans. Through mixed media sculpture, paintings, and works on paper, she explores floods not only as natural phenomena; but also the complex interaction of social, cultural, and political factors associated with flooding and its aftermath. galleries.lafayette.edu [email protected] 610 330 5361 1. Breach, 2016 wood, ceiling tin, found trunks, washtubs and misc objects 155 x 60 x 51 in.
  • National Endowment for the Arts FY 2017 Fall Grant Announcement

    National Endowment for the Arts FY 2017 Fall Grant Announcement

    National Endowment for the Arts FY 2017 Fall Grant Announcement State and Jurisdiction List Project details are accurate as of December 7, 2016. For the most up to date project information, please use the NEA's online grant search system. The following categories are included: Art Works, Art Works: Creativity Connects, Challenge America, and Creative Writing Fellowships in Poetry. The grant category is listed with each recommended grant. All are organized by state/jurisdiction and then by city and then by name of organization/fellow. Click the state or jurisdiction below to jump to that area of the document. Alabama Louisiana Oklahoma Alaska Maine Oregon Arizona Maryland Pennsylvania Arkansas Massachusetts Rhode Island California Michigan South Carolina Colorado Minnesota South Dakota Connecticut Mississippi Tennessee Delaware Missouri Texas District of Columbia Montana Utah Florida Nebraska Vermont Georgia Nevada Virginia Hawaii New Hampshire Virgin Islands Illinois New Jersey Washington Indiana New Mexico West Virginia Iowa New York Wisconsin Kansas North Carolina Wyoming Kentucky Ohio Some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Information is current as of December 7, 2016. Alabama Number of Grants: 6 Total Dollar Amount: $120,000 Alabama Dance Council, Inc. (aka Alabama Dance Council) $30,000 Birmingham, AL Art Works - Dance To support the 20th anniversary of the Alabama Dance Festival. The statewide festival will feature performances and a residency by CONTRA-TIEMPO. The festival also will include a New Works Concert featuring choreographers from the South, regional dance company showcases, master classes, workshops, community classes, and a Dance for Schools program.
  • Architectures of Freedom: Literary Collaboration in Contemporary American Poetry

    Architectures of Freedom: Literary Collaboration in Contemporary American Poetry

    ARCHITECTURES OF FREEDOM: LITERARY COLLABORATION IN CONTEMPORARY AMERICAN POETRY by Shelagh Wilson Patterson B.A. in Comparative Literature, City University of New York Hunter College, 1999 M.F.A. in Creative Writing, Poetry, City University of New York Hunter College, 2001 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH Kenneth P. Dietrich School of Arts and Sciences This dissertation was presented by Shelagh Wilson Patterson It was defended on November 20, 2013 and approved by Don Bialostosky, PhD, Chair and Professor, English Shalini Puri, PhD, Associate Professor, English William Scott, PhD, Associate Professor, English Todd Reeser, PhD, Professor, French and Director, Women’s Studies Program Dissertation Advisor: Don Bialostosky, PhD, Chair and Professor, English ii Copyright © by Shelagh Wilson Patterson 2013 iii ARCHITECTURES OF FREEDOM: LITERARY COLLABORATION IN CONTEMPORARY AMERICAN POETRY Shelagh Wilson Patterson, PhD University of Pittsburgh, 2013 The dissertation, “Architectures of Freedom: Literary Collaboration in Contemporary American Poetry” uses the praxis of the U.S. third world feminists to analyze literary collaborations from a contemporary cohort of writers. As developed by Chela Sandoval, the defining aspect of the praxis of the U.S. third world feminists is differential consciousness. Differential consciousness is the ability to form coalitions within and beyond different communities not just for personal survival, but through personal survival to transform social oppressions. This dissertation animates Sandoval’s apparatus, which she calls a methodology of the oppressed, to analyze how a current cohort of writers are using literary collaboration to decolonize globalization.
  • National Endowment for the Arts Annual Report 1989

    National Endowment for the Arts Annual Report 1989

    National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1989. Respectfully, John E. Frohnmayer Chairman The President The White House Washington, D.C. July 1990 Contents CHAIRMAN’S STATEMENT ............................iv THE AGENCY AND ITS FUNCTIONS ..............xxvii THE NATIONAL COUNCIL ON THE ARTS .......xxviii PROGRAMS ............................................... 1 Dance ........................................................2 Design Arts ................................................20 . Expansion Arts .............................................30 . Folk Arts ....................................................48 Inter-Arts ...................................................58 Literature ...................................................74 Media Arts: Film/Radio/Television ......................86 .... Museum.................................................... 100 Music ......................................................124 Opera-Musical Theater .....................................160 Theater ..................................................... 172 Visual Arts .................................................186 OFFICE FOR PUBLIC PARTNERSHIP ...............203 . Arts in Education ..........................................204 Local Programs ............................................212 States Program .............................................216
  • War Diaries Edited by Tisa Bryant & Ernest Hardy

    War Diaries Edited by Tisa Bryant & Ernest Hardy

    War Diaries Edited by Tisa Bryant & Ernest Hardy Copyright © 2010 by AIDS Project Los Angeles (APLA) and the Global Forum on MSM and HIV (MSMGF) All rights reserved. Except for brief passages quoted in newspaper, magazine, radio, television or Internet reviews, no part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage or retrieval system, without permission in writing from the publisher. For more information, please contact: [email protected]. First Edition Design Patrick “Pato” Hebert Copy Editing Jaime Cortez Publication Support Lily Catanes, Jeffrey Tse, Manuel Cadenas, Jim Williams Front cover, inside front cover, inside back cover and back cover photographs are from the Pop Guns series by Derek Jackson. Copyright © 2007 by Derek Jackson. War Diaries Tisa Bryant & Ernest Hardy, Editors ACKNOWLEDGMENTS Samiya Bashir. “Getting Strong—for SSH,” appeared in Gospel by Samiya Bashir (RedBone Press, Washington, D.C.). Copyright © 2009 by Samiya Bashir. Jericho Brown. “Herman Finley,” “Pause,” and “To Be Seen” appeared in Please by Jericho Brown (New Issues Poetry & Prose/Western Michigan University, Kalamazoo, MI). Copyright © 2008. Reprinted with permission of New Issues Poetry & Prose. Reginald Harris. “Cuerpo de Hombre” and “Dream of My Cousin’s Wedding” appeared in Lodestar Quarterly, Issue 17 (San Francisco, http://lodestarquarterly.com/issue/17/). Copyright © 2006 by Reginald Harris. G. Winston James. “Not a Condom In Sight” appeared in The Damaged Good: Poems Around Love by G. Winston James (Vintage Entity Press, New York). Copyright © 2006 by G. Winston James. Kevin Simmonds. “French Quarter” appeared in Warpland: A Journal of Black Literature and Ideas (Gwendolyn Brooks Center/CSU, Chicago).
  • ALISON SAAR American, B. 1956 Cotton Eater II, 2014 Woodcut Print on Paper Friends of Art Acquisition Fund, 2015.15 Cotton Eater II

    ALISON SAAR American, B. 1956 Cotton Eater II, 2014 Woodcut Print on Paper Friends of Art Acquisition Fund, 2015.15 Cotton Eater II

    ALISON SAAR American, b. 1956 Cotton Eater II, 2014 Woodcut print on paper Friends of Art Acquisition Fund, 2015.15 Cotton Eater II Alison Saar (b. 1956) Born and raised in the Los Angeles area, Alison Saar has art in her blood. Her parents, Betye Saar, a well-known African American artist, and Richard Saar, an art conservationist, inspired her to become a sculptor. Saar earned her BA from Scripps College in 1978 and her MFA from the Otis Art Institute in 1981. As a mixed-race woman, Saar focuses her artwork on issues of identity and spirituality. Inspired by various cultural mythologies, she uses a wide array of materials to construct her own storytelling devices that deal with the most human of subject matter: fertility, parenthood, and birthing, as well as political issues of racial and gender identity and equality. A product of its time Alison Saar created Cotton Eater II during a time in the United States where the poor and working classes felt marginalized by extreme wealth and corporate influence, as evidenced by the Occupy Wall Street movement that began in 2011 and a lingering criticism of the government’s response to Hurricane Katrina in 2005. Nine years later, at the time this print was made, the Lower Ninth Ward (a predominately black New Orleans neighborhood) had still not recovered from the devastation. Take a closer look Inspired by the Greek myth of the Lotus-Eaters that appears in Homer’s The Odyssey and perhaps Vincent Van Gogh’s painting, The Potato Eaters, Saar depicts a poor, African American woman eating cotton.
  • Issue 6.2 Full

    Issue 6.2 Full

    Bone Bouquet Volume 6 Issue 2 Fall 2015 Copyright © 2015 Bone Bouquet ISSN 2157-9199 ISSN online 1948-1896 To learn more about Bone Bouquet, visit us online at http://bonebouquet.org Subscriptions can be purchased via our website or by sending a check made out to Bone Bouquet to: 925 Bergen St, Suite 405 | Brooklyn, NY 11238 Single issues are $8.00 each plus $2.00 shipping; a one-year subscription may be purchased for $15.00 with free shipping; two-year subscriptions $26.00 with free shipping. To submit work to Bone Bouquet, visit our online submission manager at http://bonebouquet.submittable.com/submit. We read year round and only via Submittable. Queries may be directed to the editors at [email protected]. Bone Bouquet is: Editors: Krystal Languell, Trina Burke, Amy MacLennan, Allison Layfield, Rachelle Cruz, Youna Kwak Editorial Assistants: Emma Marshall, Emily Kaufman Reviews Editor: Jeanine Deibel cover art & cover design by Jana Vukovic www.janavukovic.com This publication is made possible with a regrant from the Community of Literary Magazines and Presses, supported by public funds from the New York State Council on the Arts, a state agency. The staff gratefully acknowledges the continued support of Rachel Levitsky, Liz Page Roberts, Tom White, Barbara Henning, Carmen Giménez Smith and Evan Lavender-Smith, as well as our subscribers. Contents Jennifer Givhan Alice in the Snow, 5 Brenda Mann Hammack Palaestra, 7 Grace Shuyi Liew from Publics, 9 Maximiliane Donicht Nighthour, 11 Sarah Gzemski Parables, 12 Simone Wolff Pick, 15 Meredith McDonough Princess Maru Becomes Dr. Poison, 16 Claire Trévien from Astéronymes, 17 Valerie Hsiung london bridge is falling down, 20 Amy Schrader Two poems, 21 Karen An-Hwei Lee Three poems, 27 Rachel Fogarty Green, 28 Samiya Bashir Upon Such Rocks, 29 Claire Marie Stancek Move, 31 Evie Shockley Two poems, 32 Tara Betts Two poems, 34 Leia Penina Wilson Two poems, 36 Lauren Elma Frament tamworth trail, 1:23 pm (how he shot the bitch dead right between the eyes), 38 Bonnie Roy from hieronymus heronyma, 39 Min K.
  • Gallery Guide As You Look Closely at the Artworks

    Gallery Guide As You Look Closely at the Artworks

    LOOK. Listen. Learn. Act. January 9 - June 14, 2021 LOOK. Listen. Learn. Act. Focus West Gallery: January 9 - June 14, 2021 Every year, the JSMA partners with the University of Oregon’s Common Reading—campus-wide programming around a shared book and its themes—to organize a Common Seeing exhibition that explores and expands on the Common Reading through visual art. The 2020-21 novel is This is My America by UO Assistant Vice Pro- vost for Advising, Kimberly Johnson. The Common Reading’s charge of Listen. Learn. Act. incorporates different bodies of work across multiple platforms, focusing on Blackness, Black experience, and dismantling racism. The JSMA’s “Common Seeing” features works by Hank Willis Thomas and Alison Saar from the collection of Jordan D. Schnitzer and works by Lezley Saar and Kara Walker from the JSMA’s permanent collection. Even if you have not yet read This is My America, consider the quotes from author Kimberly Johnson and the book’s protagonist, Tracy Beaumont, included in this gallery guide as you look closely at the artworks. The art of Hank Willis Thomas, Kara Walker, and sisters Alison and Lezley Saar compels us to look, listen, learn, and act. As you view each work, compare and contrast how the four artists address Blackness and the Black experi- ence. Open yourself up to what the objects are saying to you. Learn about the subjects, references, histories, and stories that inspire these artists. Do the imagery or messages shared by the artists reflect any of your personal experiences? What will you do to dismantle racism? The JSMA believes that art can move people to change.